Graphics of Britsih Museum

Design guidelines
March 2012
About the British Museum
The British Museum exists to promote
dialogue and understanding. The
collection allows people across the
whole world to understand other
cultures, other ways of thinking, and
how they are connected to each other.
The collection spans from the dawn of
human history over two million years
ago to the present. The Museum is a
unique resource for the world due to
the breadth and depth of its collection.
As such, it is a place for debate,
and is committed to allowing a wide
public to re-examine cultural identities
and explore the complex network of
interconnected human cultures.
The Museums visual language
The British Museums visual language is a system designed to
visually represent the Museum. It reects and reinforces the
Museums values and core purpose. In line with the Museums
positioning in the wider world, it is strong and condent, visually
demonstrating that the Museum is a single organisation with a
shared outlook and goals.
Key elements of the design are:
a single Museum logo, undiluted by sub-brands
typefaces (fonts), Baskerville and Akzidenz Grotesk
the choice of objects from the collection to represent
the brief
a strong and consistent design style
Logo and fonts
The logo is adapted from the font Baskerville, designed by
John Baskerville during the same period in which the Museum
was founded, in 1753. This reference to the Museums 250-
year history has a gravitas and authority suitable for the
Museum. Baskerville is also the Museums ofcial serif font in
designed work.
The majority of designed work uses the Museums offcial sans
serif font, Akzidenz Grotesk. In contrast to Baskerville, it adds a
contemporary and modern feel representative of the Museums
current activities and prole in the world.
In non-designed work (e.g. emails, correspondence) and on the
website, the Museum uses Arial font.
The grid system and text hierarchy
The design styling is based on a nine-column grid. This is the
graphic device or scaffolding by which all the elements of the
design are structured. The logo is sized in relation to the grid,
but can be positioned anywhere in the design within the nine-
column grid.
There is a clear hierarchy of text sizes. This establishes a
relationship between different types of information and their
relative importance. See examples later in this document.
Objects, photography and extra copy
The choice and use of images of objects in the Museums
collection are the most important element of the design.
Choosing the right object is critical to the strength of the
design, and different objects are used to distinguish different
activities on offer. The design system has been created to
always respect and protect objects by ensuring text or the
Museums logo is never placed over them.
Colour
On marketing materials, black or dark backgrounds are
used for special (i.e. charging) exhibitions and white or pale
backgrounds are used for core activities and free offers such
as galleries and free exhibitions and displays. The neutral
background allows the colours in the object to stand out.
One-off special events, such as one-day events, can use a
coloured background to reect the ephemeral nature of the
activity. The text will use two colours. The default for the rst
colour is black or white, depending on the background colour.
The second colour will be chosen to complement the object
image. However, the designer has some exibility in text colour
choice for example it is acceptable to use two shades of blue
instead of black and blue.
The overall design system
As stated above, the logo can be positioned anywhere in the
design within the nine-column grid. This is because all the
other elements in the design system work together to create
a strong visual language which is not reliant on a consistent
logo positioning. It is important that the design system itself
becomes recognisable, not the individual elements.
The design system is simple and pared back, and this allows
the object to be the most important element, resulting in a
strong look and feel. There are no designed sub-brands (such
as objects in focus) these are simply written in text. There
are no personalities for exhibitions or individual activities the
strength of the object represents the activity and sets each
one apart.
The following pages contain examples of how the design
system works in practice. The use of all the design elements
repeatedly and consistently reinforces the design style,
essentially creating the Museums visual language.
Logo use
25mm
The minimum width
of the logo is 25mm.
The British Museum
logo is the copyrighted
trademark of the Trustees
of the British Museum.
The logo is a specic
graphic and must
never be recreated
in any way, including by
typing out in text.
The logo can only
be produced in
black or white.
There must be clear space
between the logo and
other design elements.
Clear space is measured
by the width of the M in
Museum. Design elements
are symbols, rules,
wording, illustration or
photographic edges.
Never distort the logo by
stretching or squashing,
or adding to it, or cropping
it in any way.
Ensure the logo
is clearly legible.
Do not reverse
out of a pale colour
or a busy background.
The logo can only be
issued for use by the
Marketing Department.
All uses of the logo
must be approved by
the Marketing Department
and are subject to the
Conditions for use of
the British Museum logo
(commercial or
non-commercial).
Marketing Department
+44 (0)20 7323 8354
logo@britishmuseum.org
Logo use in
limited space
16mm
50mm
28mm
This version of the
logo has been optically
adjusted for use at small
sizes. The minimum
width of this version of
the logo is 16mm.
This version of the
single line logo has
been optically adjusted
for when the single line
version has to appear
smaller than 50mm wide.
The minimum width of
this version of the logo
is 28mm.
The stacked version is
the preferred choice.
Where the format does
not allow use of the
stacked version, a single
line version can be used.
The minimum width of
this version of the logo
is 50mm.
The stacked version is
the preferred choice.
Berthold Akzidenz Grotesk Pro. Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwyxz 0123456789
Berthold Akzidenz Grotesk Pro. Light Italic
Berthold Akzidenz Grotesk Pro. Regular
Berthold Akzidenz Grotesk Pro. Regular italic
Berthold Akzidenz Grotesk Pro. Medium
Berthold Akzidenz Grotesk Pro. Medium italic
Berthold Akzidenz Grotesk Pro. Bold
Berthold Akzidenz Grotesk Pro. Bold italic
Berthold Akzidenz Grotesk Pro. Super
Berthold Akzidenz Grotesk Pro. Super italic
Fonts
Sans serif.
For use in
designed material.
Akzidenz Grotesk Pro
from Berthold.
Fonts will not
be supplied externally
as this would be a
breach of the font
licence agreement.
External contacts
working on behalf of the
Museum (designers/
printers etc) are required
to purchase the fonts
to ensure they have the
correct font licence.
Baskerville MT Pro. Regular
Baskerville MT Pro. Regular italic
Baskerville MT Pro. Semibold
Baskerville MT Pro. Semibold italic
Arial. Regular
Arial. Regular italic
Arial. Bold
Arial. Bold italic
Fonts
(cont.)
Serif.
For use in designed
material. Baskerville
Pro from Monotype.
Sans serif.
For use on digital
applications,website,
on-screen presentations
and Microsoft Ofce
templates.
Arial is a standard cross-
platform font available
worldwide.
Fonts will not be
supplied externally
as this would be a
breach of the font
licence agreement.
External contacts
working on behalf of the
Museum (designers/
printers etc) are required
to purchase the fonts
to ensure they have the
correct font licence.
Nine-column grid
Nine-column grid
The nine-column grid is
set up as 50 units across
the width; 3 units for the
margins, 4 for each column
and one for each gutter.
This can then be easily
applied to any format.
1 unit
4 units
3
units
Logo size on
portrait formats
Logo size
1
On portrait formats, the
logo size is defned as
three columns of the grid.
2
The logo can then be
positioned in any location
with the capital B aligning
to the grid.
3
The logo can be used
vertically. The size is still
dened as three columns
of the grid. It can be
positioned in any location
with the capital B aligning
to the grid horizontally.
The logo size is set as
three columns of the grid.
The logo can be
positioned in any
location with the capital
B downstroke aligning to
the grid.
1 unit
4 units
3
units
x
x
1
2
3
Logo size on
landscape formats
Logo size
On landscape formats,
the logo size is defned as
three columns of the grid
across the shorter edge of
the format. The logo can
then be positioned in any
location with the capital B
aligning to the grid on the
long edge.
On unusual formats the
logo size will be defned
on a case-by-case basis, as
a multiple of one column of
the nine-column grid.
The logo size
is dened as
three columns
of the grid.
x
x
On-site poster:
font sizes and hierarchy
On-site poster format:
508mm wide x 762mm
high, shown with the
nine-column grid
applied.
Ideally, all font sizes
used are multiples of 3.
Text should be ranged
left or right, not
centred, except text
in a circle defacer. In
general, use sentence
case; do not use all
upper case, all lower
case or small caps.
1

84pt Akzidenz
Grotesk Pro Medium
2
48pt Akzidenz
Grotesk Pro Light
3
24pt Akzidenz
Grotesk Pro Regular
4
18pt Akzidenz
Grotesk Pro Regular
5
9pt Akzidenz
Grotesk Pro Regular
6
48pt Akzidenz
Grotesk Pro Light, Circle
diameter: 66mm
23 June
9 October 2011
Open late Fridays
Members free
Book now
britishmuseum.org
020 7323 8181
Sponsored by John Studzinski
In association with
William and Judith Bollinger, Singapore
Betsy and Jack Ryan
Howard and Roberta Ahmanson
The Hintze Family
Charitable Foundation
Organised with
The Cleveland Museum of Art
The Walters Art Museum
Reliquary bust of an unknown female saint,
probably a companion of St Ursula.
South Netherlandish, c. 15201530.
The Metropolitan Museum of Art, New York.
Treasures
of Heaven
saints, relics
and devotion
in medieval
Europe
Coming
soon
1
2
2
3
4
2
5
6
Poster
On-site poster for
paying exhibition.
23 June
9 October 2011
Open late Fridays
Members free
Book now
britishmuseum.org
020 7323 8181
In association with
Betsy and Jack Ryan
The Hintze Family
Charitable Foundation
Organised with
Treasures
of Heaven
saints, relics
and devotion
in medieval
Europe
Coming
soon
Poster
On-site poster for
paying exhibition.
Fra Angelico
to Leonardo
Italian
Renaissance
drawings
22 April
25 July 2010
The BP exhibition
Open late Fridays
Members free
Book now
britishmuseum.org
020 7323 8181
Andrea del Verrocchio,
Head of a woman. Charcoal,
heightened with lead white, c. 1475.
The Trustees of the British Museum.
Supported by BP
Coming
soon
Poster
On-site poster for
paying exhibition.
britishmuseum.org
020 7323 8181
Members
free
Open late
on Fridays
Book now
6 October 2011
19 February 2012
Grayson Perry
The Tomb of
the Unknown
Craftsman
Coming
soon
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.
Supported by
With
Poster
On-site poster for
paying exhibition.
Coming
soon
Hajj
journey
to the heart
of Islam
britishmuseum.org
020 7323 8181
Open late Fridays
Members free
Book now
26 January
15 April 2012
Left: The Kaba. AP/PA.
Right: Hajj certicate (detail). 17th18th century AD.
Nasser D. Khalili Collection of Islamic Art (Khalili Family Trust).
HSBC Amanah has supported the
exhibitions international reach outside
the Kingdom of Saudi Arabia
King Abdulaziz Public Library
Riyadh, Saudi Arabia
In partnership with
4342_Hajj_Railings_NEWLogo.indd 1 01/12/2011 10:41
Poster
On-site poster for
free exhibition.
Co-organised with Agency
for Cultural Affairs of Japan
A Japan-UK
150 Event
In collaboration with
Tokyo National Museum
Masked dogu from Nakappara, Nagano Prefecture, Japan. 15001000 BC.
On loan from the Chino City Board of Education. Designated Important Cultural Property by the Japanese Government.
Sponsored by
10 September
22 November 2009
The power
of dogu
ceramic
gures from
ancient Japan
Open late Fridays
Room 91
Free
britishmuseum.org
Poster
On-site poster for
Objects in focus
exhibition.
britishmuseum.org
Carving of the tip of a
mammoth tusk depicting
swimming reindeer. Late Ice
Age, about 13,000 years old.
Found at Montastruc,
central-southern France.
Photo of reindeer.
B&C Alexander/Arcticphoto.
11 February
11 April 2010
The Asahi Shimbun displays
Carved from
a mammoth
tusk, 13,000
years old
Swimming
reindeer
Objects in focus
Free
Open late Fridays
Room 3
Supported by
Poster
On-site poster
for one-off
special event.
Celebrate this
annual Mexican
festival with free
family performances,
dance, workshops
and carnival parades.
Sunday
1 November 2009
11.0017.00
britishmuseum.org
Day of
the dead
Fiesta!
Free
P
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c
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rin
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f L
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(a
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C
ity
, 1
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8
0
s
.
Supported by BP
Poster
Off-site poster
for campaign
promotion.
The British
Museum is
open until
20.30 every
Friday
Explore the collection
Music and lm
Talks and tours
Food and drink

britishmuseum.org/fridays
P
h
o
to
: P
h
il S
a
y
e
r
See you
later
Promotional
signage
In partnership with the
Islamic Republic of Afghanistan and
the National Museum of Afghanistan
In association with National Geographic
In association with
Betsy and Jack Ryan
The Hintze Family Charitable Foundation
Organised with

23 June
9 October 2011
Coming
soon
Treasures
of Heaven
saints, relics
and devotion
in medieval
Europe
Fra Angelico
to Leonardo
Italian
Renaissance
drawings
The BP exhibition
22 April
25 July 2010
Andrea del Verrocchio, Head of a woman. Charcoal, heightened with lead white, c. 1475. The Trustees of the British Museum.
Final
weeks
Supported by BP
On-site large scale
promotional signage.
John Smith
Job title goes here
Department name goes here
T +44 (0)20 7323 8242
M +44 (0)7890 123456
F +44 (0)20 7323 8915
jsmith@britishmuseum.org
Great Russell Street
London WC1B 3DG
britishmuseum.org
Printed
stationery
Letterhead, compliment
slip and business card.
The size of the logo
on printed stationery
is 80% of three of the
columns of the
nine-column grid
on an A4 format.
The size of the logo
on the business card
is four columns of the
nine-column grid.
London WC1B 3DG
britishmuseum.org
Some One
32 The Street
London N1 2LJ
Thursday 26 May 2011
Dear Sir or Madam,
Lorem Ipsum LoreAxim same dolupti tempore moluptur, cullabor sint, acestis pla verchil
luptibus abo. Et estisci lluptatquo iuntiatem sus dendignimpor atemodi gendam, ipsustis
estioria non re oditationsed ut endelendis est qui utatur ad quis doluptas dionecestium
accus quatur? Qui aliquib erciae num est, que volupta saped ute ommoluptati que repudit
voluptas reptatius nis dus quidit lacea quodis ape vel etum rerum eiumqua ssincillo consed
modit exeribus susdanda plibus etur?
Tur, abore nihita iligenis ellignatae enturepta vendent oditiuntur ma pa dolorio tempel
invendam, utent quid qui in non commolu ptatur? Quia quias as debistiur, cullecte qui tem
quatiiscim etur, omnihilique cuptur si dolorestrum cones ventiatur ate nectur, nimpor sum
ut lant lam faccupti inimporitas ut quas reptas esecab id quia poreper itemporibus ut pore,
sitiscium ressequi optatium volorib usciisc.
Yours sincerely,
John Smith
With compliments
London WC1B 3DG
britishmuseum.org
1

9pt Akzidenz
Grotesk Pro Light
2
9pt Akzidenz
Grotesk Pro Medium
3
Microsoft Ofce
templated letter text
10pt Arial Regular
1
1
3
2
1
1
2
2
1
Website
Home page
Leaets
Visitor-facing
leaets.
Map
Find your way around the Museum,
discover some of the most famous
objects, and explore the unique
collection with talks, tours and more.
britishmuseum.org
Whats on
November
December 2011
Step into Grayson Perrys imaginary
world, discover Japanese manga at the
British Museum, uncover the hidden
secrets of Herculaneum, and nd out
more about the Star of Bethlehem.
britishmuseum.org
Address
lock up
Text position and type
sizes of address details
for use on the back
page of A4, A5 and A6
formats. This shows the
full content which can
change depending
on usage.
1

9/11pt Akzidenz
Grotesk Pro Medium
2
9/11pt Akzidenz
Grotesk Pro Regular
3
6/11pt Akzidenz
Grotesk Pro Light
Position shown relative
to a whole page on an
A5 format. The address
lock up is the sign off at
the end of the page. It
should align to one of the
vertical grid lines (see
nine-column grid details)
and be positioned on the
lower part of the page,
preferably at the foot.
The British Museum
London WC1B 3DG
Holborn, Russell Square
+44 (0)20 7323 8000
britishmuseum.org
The Trustees of the British Museum 12/2011
The British Museum
Great Russell Street, London WC1B 3DG
+44 (0)20 7323 8000. britishmuseum.org
The British Museum
London WC1B 3DG
+44 (0)20 7323 8000
britishmuseum.org
The British Museum
+44 (0)20 7323 8000.
britishmuseum.org
1
1
2
2
3
3
Shown at 100%
Shown at 100%
Address
lock up and
copyright
Shown on A6 at
actual size.
3 units of the grid make
up the outer margin.
Address lock up to sit
on the outer gridline.
The Trustees of the British Museum own the copyright for anything
produced by Museum employees in the course of their job. It is not a legal
requirement to assert copyright by including it, but the Museums policy is
to include the following line on all materials that can be carried off site, for
example, a printed leaet.

Put the date in the format mm/yyyy.
The British Museum
+44 (0)20 7323 8000
britishmuseum.org
Choice of objects
and photography
The choice of an object
to use on a marketing
campaign is critical to
the impact and is what
differentiates each activity.
The object needs to be
relevant, but must also be
chosen with marketing
needs uppermost in mind.
The way objects are
photographed and then
used is also vital to the
success of this process
and for a consistent
representation of the
Museums collection.
Do not ip, colourise,
retouch or use
photographic lters on any
images, and be considerate
about cropping images.
Some objects carry
living sacred, spiritual or
social status beyond their
life today as objects in the
Museum. It is important to
be sensitive about objects
which may cause offence
through inappropriate use
or context.
Objects should be treated
with respect and never
be reinterpreted to suit
a selling or marketing
message or idea. This
should be decided in
conjunction with
curatorial staff.
Logos of sponsors
and external partners
The size and position
of logos of sponsors
and external partners
in relation to the
British Museum logo
is determined
in consultation with
the Development
Department for each
campaign and then
applied consistently.
The solution must follow
design guidelines of
the British Museum and
the other parties.
The Development
Department will conrm
the accompanying
wording (Sponsored
by, Supported by). It is
usual to have a different
proportion relationship
for small use (A5 and
smaller) to maintain
legibility.
Co-organised with Agency
for Cultural Affairs of Japan
A Japan-UK
150 Event
In collaboration with
Tokyo National Museum
Masked dogu from Nakappara, Nagano Prefecture, Japan. 15001000 BC.
On loan from the Chino City Board of Education. Designated Important Cultural Property by the Japanese Government.
Sponsored by
10 September
22 November 2009
The power
of dogu
ceramic
gures from
ancient Japan
Open late Fridays
Room 91
Free
britishmuseum.org
Fra Angelico
to Leonardo
Italian
Renaissance
drawings
22 April
25 July 2010
The BP exhibition
Open late Fridays
Members free
Book now
britishmuseum.org
020 7323 8181
Andrea del Verrocchio,
Head of a woman. Charcoal,
heightened with lead white, c. 1475.
The Trustees of the British Museum.
Supported by BP
Coming
soon

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Design guidelines

The Metropolitan Museum of Art, New York.

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